Figure 20. The costuming of Henry in the wedding scene constrains his movement, altering the energy and use of gesture in Ryan’s performance.

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Figure 21. The costuming of Beatrice (Sarah Polley) places her in an uncomfortable constructed role, and emphasises her moment of communitas with the monster, as difference.

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Figure 22. The blurring of the image de-emphasises the lines of the body, making the actors blur into backgrounds as active objects in the digital frame.

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Figure 23. The mirroring of movement in the dancing bodies stresses a focus on repetition and a gendering of female agency.

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Figure 24. Reminiscent of scenes in Surviving Desire, the choreography of student violence is blurred to emphasise the dynamicism of movement and the frenetic social scene.

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Figure 25. The costuming of Fay (Parker Posey) stresses the liminality of her role in the drama, as ostentatious performance signs are replaced by more minimal gestures and display of body.

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